IJHS Newsletter 04, 2006

Total Page:16

File Type:pdf, Size:1020Kb

IJHS Newsletter 04, 2006 Newsletter of the International Jew’s Harp Society CouncilMatters New Board Website Next Symposium FeatureComment Variety – the ‘spice of life’ John Wright RegionalNews PictureGallery Leo Tadagwa Kumpl’s Amsterdam AndFinally… Correspondence New website NoticeBoard Amsterdam CD / DVD Membership December 2006 Issue 4 Page 1 of 14 December 2006 Issue 4 BoardMatters: from the President Page 3 FeatureComment: Variety - the ‘spice of life’, by John Wright Page 4 RegionalNews Page 5 PictureGallery Page 10 AndFinally… Page 12 NoticeBoard Page 12 To contribute to the newsletter, send your emails to [email protected] or post to Michael Wright, Editor, IJHS Newsletter, 77 Beech Road, Wheatley, Oxon, OX33 1UD, UK Signed articles or news items represent the views of their authors only. Editor: Michael Wright, translations by Franz Kumpl & Gloria Custance; design & layout by Michael Wright ©IJHS2006 Cover photograph by Leo Tadagawa. Michael Wright: The newsletter is now divided into six sections: Taught by brother John Editorial Wright in the late 1960’s, BoardMatters keeps you informed on decisions made along with younger brother Welcome to the first of the Newsletters I am putting on your behalf by the elected board. David, Michael supported John on 3 tracks on The Lark together for the foreseeable future. Before going any FeatureComment is a section featuring a thought in the Clear Air recorded in further, my personal thanks to Leo Tadagawa for provoking idea or view, which might be an initial 1974. Work and family setting these up in the first place – taking over is notion that could eventually develop into an article pressures meant giving up considerably easier once the initial work has been for nearly 20 years, but, for the Journal. To kick things off I’ve asked John encouraged by John, began done. Wright to expand on comments he made at the playing again in 1992, This newsletter is your opportunity to share your AGM at Amsterdam. Michael now divides his time between playing the ideas and what’s going on in your area with the rest RegionalNews will be as large or small as the Jew’s harp, researching its of the members. In this issue I am delighted to history in the UK & Ireland, material sent to me. I would like around 150-200 introduce amongst other things, a comments section words (not too onerous), longer if you have and giving talks and and photo gallery. John Wright’s piece on valorising workshops at festivals. See something really important to say. www.jewsharper.info minority communities has been most opportune, and (Available in January 2007) you will notice a few items that quite coincidentally The PictureGallery is an opportunity for artists support his views – Leo Tadagawa’s efforts to set amongst you to show your favourite image (photo, up a festival in Japan and José Luis Pignocchi’s drawing, etc.) – plus a few novelties! news from Argentina, for instance. AndFinally… is a catch-all area, including, letters to The intention at the moment is that the newsletter the editor, or anything else sent that is not covered will be published at the end of April and October in the above. every year, and it differs from the Journal in that it If you have an impending product you want to tell will only provide snippets of information (i.e. news) us about, use the NoticeBoard. and ideas. I would prefer small amounts of information rather than huge essays – ‘little and often’, is the motto – so don’t feel obliged to write Depending upon what you send, this format may pages, and keep items short and to the point – the change or evolve. Michael Wright Journal is for bigger discussions. I need to receive Photograph by your contributions by the end of March and And finally… from me. Please ensure that you let Debbie Wright. September of each year; imagery is encouraged to me know if your address changes – postal and supplement text, though not essential, but please email. 10% of those emails on record bounced the send captions and the name of the photographer, if first time I used them, which means you could miss known – remember, however, the bus will always the ensuing issues and any other information you leave on time, even if there are no passengers on need to be aware of. board! My thanks to everyone who has contributed to this As a general principle, I will publish as sent to me edition. Keep in touch. If YOU do not send me and only suggest alterations if specifically asked to something, I cannot publish! do so – this is your voice, not mine, after all. Michael Wright, Editor Page 2 of 14 Firstly the General Secretary who is responsible for BoardMatters putting together and distributing the Newsletter, keeping track and updating of the membership list From the President: and writing the minutes in the board meetings; and secondly the treasurer who is responsible for and Dear friends, control over all financial issues, collecting and The 5th IJHF in Amsterdam from 28-30 July was a safeguard of the annual dues, and for payment of real success. The organisers from Het any expenses (Newsletter, etc), after consultation Muziekgebouw provided with a great countdown with General Secretary and President. Philippe and during the three days of the festival-congress Dallais was appointed as treasurer, because we the whole professional machinery was working for expect him to be as trustworthy as a Swiss bank. Franz Kumpl “us”. Leo Tadagawa was confirmed as General Secretary, Changes to the board In my opinion, the main points and lessons learned but when it became obvious that Leo, because of his 2006 Board are: Honorary president numerous duties and tasks will not be able to be an Fred CRANE (lifelong) • There exists a powerful young generation of active GenSec, Leo asked to be substituted. In USA Jew’s harp players, who know to an astonishing consultation with Leo and Fred Crane, Michael President degree the various national and ethnic styles and Franz KUMPL Wright from Great Britain was asked to take up this Austria are representing a kind of technically global yet job, and after some considerations he answered: General Secretary emotionally personal style of playing; this “I'm very honoured to have been asked to contribute (Leo TADAGAWA) applies to Silvain Vartan (France), Nguyen Duc to the Society on such an important part of its Japan Minh (Vietnam), Daniel Hentschel Michael WRIGHT promotion and organisation, and will do what I can Great Britain (Netherlands), Wolf Janscha (Austria), Kim to make the role successful.” Thank you, Michael! Treasurer Borisov and Yana Krivoshapkina (Yakutia), Philippe DALLAIS, Aron Szilagyi (Hungary), Luca Recupero (Italy), Next Congress Switzerland Li Wang (China), and others. Regarding the location for the 6th IJHF, we Journal Editor examined three options: Sicily, Hungary and Japan. Gordon FRAZIER • It seems that during each festival a certain ethnic (and Fred Crane) Jew’s harp has it’s “coming out” and fascinates The presentations of our colleagues revealed the USA the auditory with its unique possibilities. During following: Common members the 3rd festival, the star among the Jew’s harps • Luca Recupero from Sicily is very enthusiastic Ivan ALEXEYEV th Sakha-Yakutia/RF was the Yakutian “Khomus”, during the 4 the about organising an IJHF, but had to admit that Daniel HENTSCHE Norwegian “Munnharpe” was discovered, and in for a festival in about 3 years he could not Holland Amsterdam the Chinese “Kou Xiang” was the ensure the necessary funding. Gerd CONRADT people’s darling. • Aron Szilagyi from Hungary pointed out the Germany Kaliman UMETBAEVA • The concerts on the Summer Stage proved once active support of local administration in Kyrgyzstan more the importance of improvisation and Kecskemet and was able to provide a realistic Luca RECUPERO session playing. I tend to think that the Jew’s scenario for an IJHF in 2010, which is only 4 Italy harp is at its best when the song concepts are years from now. Albin PAULUS Austria rather open or when it spontaneously follows • Leo Tadagawa from Japan is sure that an IJHF Kim BORISOV emotions and ideas of the player, be it solo or in in principle was possible to be organised in Sakha-Yakutia/RF encounters with other instruments. Hokkaido, where our Mukkuri-playing Ainu Valentina SUZUKEI friends live. During the board meeting, Leo was Tuva/Russia • Recommendations for the next festival include: Aron SZILAGYI invite more Jew’s harp makers, provide with not very positive about implementing this long- Hungary cultural program for the participants, awaited Japanese IJHF within a reasonable time Leo TADAGAWA consecutive instead of parallel events, period. Japan announcements in the main languages. Therefore it was decided to have the 6th IJHF in Quang-Hai TRAN France Hungary. New board Svein WESTAD Norway I was convinced that we have to take a maximum of However, in October Leo was in Hokkaido where young people on board, if we want to have thriving the Ainu live and was convinced that there are very Thanks to members of the IJHS and guarantee festivals which find the difficult enthusiastic people wanting to organise an IJHF old Board who stepped down: synthesis between the best of the known oldies who within 2-3 years. After consultation with Fred Phons BAKX represent the traditions and of the young rebels with Crane, Michael Wright and Aron Szilagyi, it was Holland unexpected approaches. I want to thank our decided that Leo should be given until end of 2006 Anton BRUHIN grandsigneurs from the board for their to check the probability of a Japanese festival more Switzerland Anon EGELAND understanding and for making place for young thoroughly.
Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Source Readings in Javanese Gamelan and Vocal Music, Volume 3
    THE UNIVERSITY OF MICHIGAN CENTER FOR SOUTH AND SOUTHEAST ASIAN STUDIES MICHIGAN PAPERS ON SOUTH AND SOUTHEAST ASIA Editorial Board A. L. Becker Peter E. Hook Karl L. Hutterer John K. Musgrave Nicholas B. Dirks, Chair Ann Arbor, Michigan USA KARAWITAN SOURCE READINGS IN JAVANESE GAMELAN AND VOCAL MUSIC Judith Becker editor Alan H. Feinstein assistant editor Hardja Susilo Sumarsam A. L. Becker consultants Volume 3 MICHIGAN PAPERS ON SOUTH AND SOUTHEAST ASIA Center for South and Southeast Asian Studies The University of Michigan Number 31 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. Library of Congress Catalog Card Number: 82-72445 ISBN 0-89148-034-X Copyright ^ by © 1988 Center for South and Southeast Asian Studies The University of Michigan Publication of this book was assisted in part by a grant from the Publications Program of the National Endowment for the Humanities. Additional funding or assistance was provided by the National Endowment for the Humanities (Translations); the Southeast Asia Regional Council, Association for Asian Studies; The Rackham School of Graduate Studies, The University of Michigan; and the School of Music, The University of Michigan. Printed in the United States of America ISBN 978-0-89148-041-9 (hardcover) ISBN 978-0-472-03820-6 (paper) ISBN 978-0-472-12770-2 (ebook) ISBN 978-0-472-90166-1 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ CONTENTS ACKNOWLEDGMENTS vii APPENDIX 1: Glossary of Technical Terms Mentioned in the Texts 1 APPENDIX 2: Javanese Cipher Notation (Titilaras Kepatihan) of Musical Pieces Mentioned in the Texts 47 APPENDIX 3: Biographies of Authors 429 APPENDIX 4: Bibliography of Sources Mentioned by Authors, Translators, Editors, and Consultants 447 GENERAL INDEX 463 INDEX TO MUSICAL PIECES (GENDHING) 488 This work is complete in three volumes.
    [Show full text]
  • FOMRHI Quarterly
    _. " Elena Dal Cortiv& No. 45 October 1986 FOMRHI Quarterly BULLETIN 45 2 Bulletin Supplement 8 Plans: Bate Collection 9 Plans? The Royal College of Music 12 Membership List Supplement 45 COMMUNICATIONS 745- REVIEWS: Dirtionnaire des facteurs d'instruments ..., by M. Haine £ 748 N. Meeus', Musical Instruments in the 1851 Exhibition, by P. £ A. Mactaggart; Samuel Hughes Ophideidist, by S. J, Weston} Chanter! The Journal of the Bagpipe Sodiety, vol.1, part 1 J. Montagu 14 749 New Grove DoMi: JM 65 Further Detailed Comments: The Gs. J. Montagu 18 750 New Grove DoMi: ES no. 6J D Entries E. Segerman 23 751 More on Longman, Lukey £ Broderip J. Montagu 25 752 Made for music—the Galpin Sodety's 40th anniversary J. Montagu 26 753 Mersenne, Mace and speed of playing E. Segerman 29 754' A bibliography of 18th century sources relating to crafts, manufacturing and technology T. N. McGeary 31 755 What has gone wrong with the Early Music movement? B. Samson 36 / B. Samson 37 756 What is a 'simple' lute? P. Forrester 39 757 A reply to Comm 742 D. Gill 42 758 A follow-on to Comm 739 H. Hope 44 759 (Comments on the chitarra battente) B. Barday 47 760 (Craftsmanship of Nurnberg horns) K. Williams 48 761 Bore gauging - some ideas and suggestions C. Karp 50 7632 Woodwin(On measurind borge toolmeasurins and gmodems tools ) C. Stroom 55 764 A preliminary checklist of iconography for oboe-type instruments, reeds, and players, cl630-cl830 B. Haynes 58 765 Happy, happy transposition R. Shann 73 766 The way from Thoiry to Nuremberg R.
    [Show full text]
  • Jurgita Nagrockytė DAMBRELIO RAIDA LIETUVOS MUZIKINIUOSE
    VYTAUTO DIDŽIOJO UNIVERSITETAS HUMANITARINIŲ MOKSLŲ FAKULTETAS ETNOLOGIJOS IR FOLKLORISTIKOS KATEDRA Jurgita Nagrockytė DAMBRELIO RAIDA LIETUVOS MUZIKINIUOSE ANSAMBLIUOSE Magistro baigiamasis darbas Etninės kultūros studijų programa, valstybinis kodas 62407H101 Etnologijos studijų kryptis Vadovas prof. habil. dr. Romualdas Apanavičius ___________ ___________ (Moksl. laipsnis, vardas, pavardė) (Parašas) (Data) Apginta doc. dr. Jonas Vaičenonis ___________ ____________ (Fakulteto dekanas) (Parašas) (Data) Kaunas, 2010 1. TURINYS 1. TURINYS ....................................................................................................................................... 1 2. SANTRAUKA................................................................................................................................ 2 3. SUMMARY.................................................................................................................................... 3 4. ĮVADAS ......................................................................................................................................... 4 5. DAMBRELIO ISTORIJA, ATSIRADIMO PRIELAIDOS LIETUVOJE..................................... 7 5.1 Dambrelio raida pasaulyje ....................................................................................................... 7 5.2 Dambrelio istorinė raida .......................................................................................................... 9 5.3 Dambrelio istoriniai atradimai Europoje ir Jungtinėje karalystėje .........................................
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]
  • Buku Versi Agustus 2018.Pdf
    MUSIK SUKU DAYAK Sebuah Catatan Perjalanan di Pedalaman Kalimantan © Haryanto xviii + 176, 15 x 23 cm Penulis : Haryanto Editor dan Pra-Cetak : Michael H.B. Raditya Sampul Muka : Bagus Adi Chandra Diterbitkan pertama kali: September 2015 Perpustakaan Nasional RI. Data Katolog dalam Terbitan (KDT) Musik Suku Dayak: Sebuah Catatan Perjalanan Di Pedalaman Kalimantan Penulis: Haryanto; Editor: Michael H.B. Raditya; Pengantar Victor Ganap – Yogyakarta: 2015 Xviii + 176, 15 x 23 cm 1. Musik, Dayak, Etnomusikologi I. Haryanto II. Raditya, Michael H.B. ISBN: 978-979-8242-80-9 Penerbit Badan Penerbit ISI Yogyakarta Jl. Parangtritits Km 6,5, Sewon, Kode Pos 55187 Yogyakarta Hak Cipta Dilindungi Undang-Undang. Dilarang memperbanyak karya tulis ini dalam bentuk dan dengan cara apapun tanpa izin tertulis dari Penulis dan Penerbit. Percetakan Bintang Pustaka 1 PRAKATA Sejauh ini, keberadaan suku Dayak di Kalimantan telah berhasil menarik perhatian para peneliti asing, yang hasilnya telah banyak dituangkan ke dalam berbagai tulisan pada kontinum internasional. Akan tetapi, dengan semakin meningkatnya kesadaran para peneliti pribumi asal Kalimantan, proses Indonesianisasi melalui aktivitas penelitian etnomusikologi atas kekayaan budaya Kalimantan mulai terangkat ke permukaan dalam berbagai bentuk tulisan dan karya ilmiah tesis dan disertasi. Namun wilayah Kalimantan yang begitu luas terbentang dari barat ke timur dan dari selatan ke utara, yang dihuni oleh berbagai kelompok sub-etnik suku Dayak, dan memiliki keberagaman serta keunikan budayanya masing-masing, menjadikan Kalimantan sebagai sebuah ranah budaya dengan kekayaan musik tradisi mereka yang tidak akan pernah tuntas untuk diteliti. Atas dasar kondisi geografis Kalimantan yang multikultural seperti itulah, upaya yang dilakukan oleh penulis buku ini, Haryanto, seorang dosen etnomusikologi asal Yogyakarta yang meneliti musik-musik suku Dayak dalam perjalanannya di pedalaman Kalimantan patut memperoleh penghargaan.
    [Show full text]
  • Konference09 Matousek
    Konference 2009 Hlas v kulturách světa Techniky ústní resonance v etnické hudbě Vlastimil Matoušek Ústní resonance , která se v evropské kultivované (vážné, artificiální atd.) hudbě prakticky neužívá, hraje naopak velice důležitou roli v celé řadě hudebních projevů v kategorii etnické hudby2, zejména v hudbě tzv. pří- rodních národů. Jsou to především některé hlasové „zpěvní“ projevy „imitující“, související často s magií a napodobováním zvuků přírody, hlasů zvířat atd., „hra“ na mluvící trubice (srov. dále) a hlasové modifiká- tory, hra na některé trubkové nástroje, hra na ústní hudební luk a na brumli. Zvláštním fenoménem je tzv. bifonický (také harmonický) zpěv. Hlasové projevy „imitující“ U přírodních národů, lidských společenství žijících na předliterárním stupni vývoje, se lze setkat s vokálními projevy, které se zpěvu v našem slova smyslu, ve kterém hrají klíčovou roli kultivované tóny konkrétních výšek, příliš nepodobají. Naopak, jejich „zpěv“ běžně zahrnuje i všemož- né další zvuky, které lze jen z hrdla vyloudit, ty pak často napodobují hla- sy zvířat, slouží k odhánění zlých duchů či jako hádanky atp.. Přitom se zpravidla také využívá rezonance ústní dutiny. Jako příklad mohou sloužit třeba tzv. vokální hry Inuitů-Eskymáků. ukázka 1. CD Canada – Jeux vocaux des Inuit, Ocora C 559071, Paris 1989, č. 24, 1:01, Qattipaartuk, „vyprávěcí“ hry Netsilik Inuit, Gjoja Haven, Ca- nada. Mluvící trubice a hlasové modifikátory Mluvící trubice (speaking tube, voice modifier, voice mask atd..) – bývá trubice z duté větve, bambusu, zvířecích rohů v délce cca 50cm až 200cm, www.hlasohled.cz 1 Konference 2009 Hlas v kulturách světa zpravidla o průměru od 3cm do 10cm, používaná pro zkreslení a modifi- kování hlasových projevů (tedy nikoliv k troubení!) s použitím ústní re- sonance.
    [Show full text]
  • The Accordion in the 19Th Century, Which We Are Now Presenting, Gorka Hermosa Focuses on 19Th C
    ISBN 978-84-940481-7-3. Legal deposit: SA-104-2013. Cover design: Ane Hermosa. Photograph on cover by Lituanian “Man_kukuku”, bought at www.shutterstock.com. Translation: Javier Matías, with the collaboration of Jason Ferguson. 3 INDEX FOREWORD: by the Dr. Pr. Helmut Jacobs................................................................ 5 INTRODUCTION......................................................................................................... 7 CHAPTER I: Predecessors of the accordion.............................................................. 9 I.1- Appearance of the free reed instruments in Southeast Asia.................... 10 I.2- History of the keyboard aerophone instruments: The organ................... 13 I.3- First references to the free reed in Europe.............................................. 15 I.4- The European free reed: Christian Gottlieb Kratzenstein....................... 17 I.5- The modern free reed instrument family................................................ 18 CHAPTER II: Organologic history of the accordion............................................... 21 II.1- Invention of the accordion..................................................................... 21 II.1.1- Demian’s accordion..................................................................... 21 II.1.2- Comments on the invention of the accordion. ............................ 22 II.2- Organologic evolution of the accordion................................................ 24 II.3- Accordion Manufacturers.....................................................................
    [Show full text]
  • Library of Congress Medium of Performance Terms for Music
    A clarinet (soprano) albogue anzhad USE clarinet BT double reed instrument USE imzad a-jaeng alghōzā Appalachian dulcimer USE ajaeng USE algōjā UF American dulcimer accordeon alg̲hozah Appalachian mountain dulcimer USE accordion USE algōjā dulcimer, American accordion algōjā dulcimer, Appalachian UF accordeon A pair of end-blown flutes played simultaneously, dulcimer, Kentucky garmon widespread in the Indian subcontinent. dulcimer, lap piano accordion UF alghōzā dulcimer, mountain BT free reed instrument alg̲hozah dulcimer, plucked NT button-key accordion algōzā Kentucky dulcimer lõõtspill bīnõn mountain dulcimer accordion band do nally lap dulcimer An ensemble consisting of two or more accordions, jorhi plucked dulcimer with or without percussion and other instruments. jorī BT plucked string instrument UF accordion orchestra ngoze zither BT instrumental ensemble pāvā Appalachian mountain dulcimer accordion orchestra pāwā USE Appalachian dulcimer USE accordion band satāra arame, viola da acoustic bass guitar BT duct flute USE viola d'arame UF bass guitar, acoustic algōzā arará folk bass guitar USE algōjā A drum constructed by the Arará people of Cuba. BT guitar alpenhorn BT drum acoustic guitar USE alphorn arched-top guitar USE guitar alphorn USE guitar acoustic guitar, electric UF alpenhorn archicembalo USE electric guitar alpine horn USE arcicembalo actor BT natural horn archiluth An actor in a non-singing role who is explicitly alpine horn USE archlute required for the performance of a musical USE alphorn composition that is not in a traditionally dramatic archiphone form. alto (singer) A microtonal electronic organ first built in 1970 in the Netherlands. BT performer USE alto voice adufo alto clarinet BT electronic organ An alto member of the clarinet family that is USE tambourine archlute associated with Western art music and is normally An extended-neck lute with two peg boxes that aenas pitched in E♭.
    [Show full text]
  • Músiques Del Món
    Departament de Didàctica de l'Expressió Musical, Plàstica i Corporal Facultat de Ciències de l'Educació de la Universitat Autònoma de Barcelona MMÚSIQUES DEL MÓN:: ANÀLISI PER LA SELECCIÓ I L''ESTABLIMENT DE CRITERIS PER UN REPERTORI A L''ESCOLA Treball de Recerca dirigit per: ASSUMPTA VALLS ANNA BATLLE I PANADÈS Barcelona, setembre de 2007 Gràcies a... l'Assumpta, per les seves hores, pel seu guiatge, suport, discussió, hores de reflexió, coneixement compartit, assessorament i recolzament personal. a l'Òscar, que sempre és el meu costat en tots els moments, bons i dolents, per l'aportació de la seva visió de les coses, i pel mestratge i solució a tots els problemes tecnològics que se'm presenten. als professors de la facultat, que em van ensenyar i mostrar un món, el de l'educació musical, i em van ajudar a descobrir i relfexionar sobre l'educació i la música. També per la seva comprensió i per la seva vessant humana. als amics i la família, pel seu suport, els seus ànims i l'empenta que em saben donar en aquells moments que ho necessito. Músiques del món ÍNDEX MARC TEÒRIC 1. Presentació, justificació i objectius de la recerca........................................................3 2. Marc teòric: estat de la qüestió..................................................................................... 6 2.1. Músiques del món................................................................................................. 6 2.1.1. Conceptes......................................................................................................... 6 2.1.2. Les músiques del món i l'escola....................................................................8 2.1.2.1. El condicionament de la concepció occidental de la música.............8 2.1.2.2. L'ampliació del concepte de música..................................................... 8 2.1.2.3. Aportació de les músiques no occidentals...........................................9 2.1.2.4.
    [Show full text]
  • Genggong Kiriman: I Made Budiarsa, Mahasiswa PS Seni Karawitan ISI Denpasar Genggong Merupakan Sebuah Instrument Musik Yang Sudah Kita Warisi Sejak Zaman Yang Lampau
    Genggong Kiriman: I Made Budiarsa, Mahasiswa PS Seni Karawitan ISI Denpasar Genggong merupakan sebuah instrument musik yang sudah kita warisi sejak zaman yang lampau. Sebagai instrumen musik tua, Genggong memiliki bentuk yang sangat kecil dan nampaknya sangat sederhana. Meskipun demikian, alat music ini memiliki teknik yang cukup rumit. Genggong merupakan sebuah instrumen musik yang sangat menarik. Alat musik ini terbuat dari pelepah enau (Bahasa Bali Pugpug), berbentuk segi empat panjang dengaan ukuran panjang kurang lebih 16 cm dan lebar 2 cm. Ditangah- tengahnya sebuah pelayah sepanjang kurang lebih 12 cm; pada ujung kanan di buat lubang kecil tempat benang itu diikatkan pada sebuah potongan bambu kecil sepanjang 17 cm, sedangkan pada ujung kirinya diikatkan kain sebagai tempat pegangan ketika bermain. Genggong sering dimainkan oleh para petani sambil melepas lelah di sawah, kadang- kadang di mainkan di rumah, bahkan tidak jarang bahwa seseorang memainkan genggong dengan maksud menarik perhatian wanita (kekasihnya), sebagaimana halnya dilakukan dengan instrumen suling. Hanya saja dengan adanya parkembangan dunia yang sangat pesat dewasa ini, kebiasaan untuk menarik perhatian wanita dengan menggunakan genggong semakin jarang kita jumpai. Jumlah tungguhan dalam satu perangkat gambelan genggong, pada masing- masing sekha didapatkannya adanya jumlah maupun jenis tungguhan yang berbeda-beda. Perbedaan penggunaan tungguhan-tungguhan dalam satu perangkat merupakan hal yang umum di kalangan karawitan bali. Jumlah Instrumentasi Instrumen utama yaitu Genggong yang terbuat dari Pugpug terdiri dari dua jenis yaitu : 1. Beberapa buah Genggong yang bertugas membentuk jalinan-jalinan. Seperti dari apa yang telah dijelaskan diatas bahwa alat music ini terbuat dari pelepah enau (Bahasa Bali Pugpug), berbentuk segi empat panjang dengaan ukuran panjang kurang lebih 16 cm dan lebar 2 cm.
    [Show full text]
  • LCSH Section J
    J (Computer program language) J.G.L. Collection (Australia) J. R. (Fictitious character : Bell) (Not Subd Geog) BT Object-oriented programming languages BT Painting—Private collections—Australia UF J. R. Weatherford (Fictitious character) J (Locomotive) (Not Subd Geog) J.G. Strijdomdam (South Africa) Weatherford, J. R. (Fictitious character) BT Locomotives USE Pongolapoort Dam (South Africa) Weatherford, James Royce (Fictitious J & R Landfill (Ill.) J. Hampton Robb Residence (New York, N.Y.) character) UF J and R Landfill (Ill.) USE James Hampden and Cornelia Van Rensselaer J. R. Weatherford (Fictitious character) J&R Landfill (Ill.) Robb House (New York, N.Y.) USE J. R. (Fictitious character : Bell) BT Sanitary landfills—Illinois J. Herbert W. Small Federal Building and United States J’rai (Southeast Asian people) J. & W. Seligman and Company Building (New York, Courthouse (Elizabeth City, N.C.) USE Jarai (Southeast Asian people) N.Y.) UF Small Federal Building and United States J. Roy Rowland Federal Courthouse (Dublin, Ga.) USE Banca Commerciale Italiana Building (New Courthouse (Elizabeth City, N.C.) USE J. Roy Rowland United States Courthouse York, N.Y.) BT Courthouses—North Carolina (Dublin, Ga.) J 29 (Jet fighter plane) Public buildings—North Carolina J. Roy Rowland United States Courthouse (Dublin, Ga.) USE Saab 29 (Jet fighter plane) J-holomorphic curves UF J. Roy Rowland Federal Courthouse (Dublin, J.A. Ranch (Tex.) USE Pseudoholomorphic curves Ga.) BT Ranches—Texas J. I. Case tractors Rowland United States Courthouse (Dublin, J. Alfred Prufrock (Fictitious character) USE Case tractors Ga.) USE Prufrock, J. Alfred (Fictitious character) J.J. Glessner House (Chicago, Ill.) BT Courthouses—Georgia J and R Landfill (Ill.) USE Glessner House (Chicago, Ill.) J-Sharp (Computer program language) USE J & R Landfill (Ill.) J.J.
    [Show full text]